Anything Goes

The plot of Anything Goes is inanely silly but who cares? Cole Porter’s music and lyrics are an absolute winner. Throw at this the outstanding talent of Hobart’s young people coached, by the expertise of the best mentors and Anything Goes is a sublime entertainment experience.

The set by Simon Rush features the symmetrical stairs and angled funnels that one might consider traditional. Situating the orchestra on the upper deck takes the set beyond the ordinary. Movable pieces for the cabins and jail work particularly well.

Having the musical ensemble in full view adds to the immediacy of the experience. Often lit in the green and blue of the ocean, the direction of repetiteur/conductor Shen-Yuan Lynch is a piece of theatre in itself, as is the virtuosic contribution of trumpet player, Orlaith Badger, who shines during “Blow, Gabriel, Blow”. The music is rhythmically tight.

Gareth Kays’ lighting creates a variety of moods and focus is honed through accurate use of the follow spot. The portholes are backlit in a range of colours.

Young mentees under Kays’ direction have benefited substantially from the experience of the show. The mentor program encompasses every aspect of backstage and technical experience. This real-world learning opportunity is an ongoing programme designed to train a new generation of technicians.

Those working under Helen Cronin were privileged to assist in assembling a gorgeous array of costumes. Reno and the four Virtues were especially stylish in fur, satin, and hats. The wigs were exceptional. Reno and Erma both looked well in sailor suits and sequined sheaths. Hope Harcourt was dressed demurely in flowers and lace. The attention to detail was also evident in the chorus members costumes. Even the live dog, Cheeky, was equipped with a sailor suit and life preserver.

The choreography by Bonnie Cashion was varied and appropriate, making use of the entire stage. The “De-lovely” ballet with five couples evokes the romance of the era. “You’re the Top” is active and funny but the performance is never vocally compromised. “Friendship” was well thought out and allowed for variation and characterisation.  “Blow, Gabriel, Blow” required great synchronicity from the ensemble and star turns from the Virtues. The tap shoes come out for the showstopper which is “Anything Goes”.

The orchestra is on point and the sound balance excellent. All the instrumental parts are clear as are all the harmonies and diction.  Every principal character wears a body mike. The male chorus adds warmth to “All Through the Night”. The blend of parts in “There’s No Cure Like Travel” is clear. Brett Budgeon, Andrew Castles and Sheng-Yuan Lynch bring out the best in the voices.

Anything Goes is double cast and both casts are equally strong. The role of Hope Harcourt requires a sweet soprano which Sophie Cashion and Holly Ward deliver. Neither allow Hope to become entirely passive but permit her to be cheeky and playful. “Goodbye, Little Dream, Goodbye” was poignant.

Reno is the plum role of the show. Davina Cox is in especially strong voice, feisty and funny. Her diction is excellent. Cate Watchorn is also a belter with a lovely tone and vibrato. Both look great in the wig and costumes and move well. Both have the maturity to pull off the character. “I Get a Kick Out of You” seduces audiences in the first moments of the show and “Blow, Gabriel, Blow” knocks their socks off.  “You’re the Top” is the best comic duo.

Erma is the other fun female role. Lucy McKenna and Harriet Gould have mastery of the accents of the gangster’s moll. Comedic moments abound. Both belt out “Buddy Beware” without faltering during some strenuous choreography and lifts. This song includes some of the most interesting choreography for the male ensemble.

Lachlan Browne has all the charm of a leading man. His voice has a lovely timbre but not quite the range of Oliver Thomas. Browne is charismatic in “You’re the Top” with Thomas gently seducing with the top notes in “Easy to Love”.

Joseph Mione is a delight as Moonface Martin. He has a superb grasp of comic timing and moves with great fluidity. He is adept at a range of accents. “Be like the Bluebird” is a joy. The alternate Moonface is played by Sophie Henderson. She is at ease in the tessitura and physicality of the role. Mione and Henderson are equally good and equally funny with Henderson adding additional irony. “Friendship” with Reno is especially delightful.

Other notable performances are given by Tommy Howard and Fergus McLean (Lord Evelyn Oakleigh), Kaiki Masson (Elisha Whitney) and Sally Quinn (Evangeline Harcourt). There is solid support from James McGregor (Ship’s Captain), Trisha Agrawal (Ship’s purser) Ruby Ellis (spit) and Grace O’Halloran (Dippy).

The plot might be silly (imagine treating criminals as celebrities!) but Director Rebecca Oliver Black has done a commendable job to bring a truly entertaining musical to the public using the best of Hobart’s young talent.

Anne Blythe-Cooper

Photographer: Jacquiw Coad